_Albumenized Paper._--If this subject be not already exhausted, the
following account of my method of preparing the material in question, which
differs in some few important particulars from any I have seen published,
may be of interest to some of my brother operators. {396}
I have, after a very considerable number of experiments, succeeded in
producing the _very highly_ varnished appearance so conspicuous in some of
the foreign proofs; and although I cannot say I admire it in general, more
especially as regards landscapes, yet it is sometimes very effective for
portraits, giving a depth of tone to the shadows, and a roundness to the
flesh, which is very striking. Moreover, a photographer may just as well be
acquainted with every kind of manipulation connected with the art.
Having but a very moderate amount of spare time, and that at uncertain
intervals, to devote to this seductive pursuit, I am always a great
stickler for _economy of time_ in all the processes, as well as for economy
of material, the former with me having, perhaps, a shade more influence
than the latter.
As in all other processes, I find that the _kind of paper_ made use of has
a most important bearing upon the result. That which I find the best is of
French manufacture, known as Canson Frères' (both the thin and the thick
sorts), probably in consequence of their being sized with starch. The thin
sort (the same as is generally used for waxed-paper negatives) takes the
highest polish, but more readily embrowns after being rendered sensitive,
and the lights are not ever quite so white as when the positive paper is
used.
In order to save both time and labour, I prepare my papers in the _largest_
sizes that circumstances will admit of, as it takes little or no more time
to prepare and render sensitive a large sheet than a small one; and as I
always apply the silver solution by means of the glass rod, I find that a
half-sheet of Canson's paper (being seventeen inches by eleven inches the
half-sheet) is the best size to operate on. If the whole sheet is used, it
requires _more_ than double the quantity of solution to ensure its being
properly covered, which additional quantity is simply so much waste.
A most convenient holder for the paper whilst being operated upon, is one
suggested by Mr. Horne of Newgate Street, and consists of a piece of
half-inch Quebec yellow pine plank (a soft kind of deal), eleven inches by
seventeen inches, screwed to a somewhat larger piece of the same kind, but
with the grain of the wood at right angles to the upper piece, in order to
preserve a perfectly flat surface. On to the upper piece is glued a
covering of japanned-flannel, such as is used for covering tables, taking
care to select for the purpose that which has no raised pattern, the
imitation of rosewood or mahogany being unexceptionable on that account.
The paper can be readily secured to the arrangement alluded to by means of
a couple of pins, one at each of two opposite angles, the wood being
sufficiently soft to admit of their ready penetration.
_To prepare the Albumen._--Take the white of _one_ egg; this dissolve in
one ounce of distilled water, two grains of chloride of sodium (common
salt), and two grains of _grape_ sugar; mix with the egg, whip the whole to
froth, and allow it to stand until it again liquefies. The object of this
operation is to thoroughly incorporate the ingredients, and render the
whole as homogeneous as possible.
A variety in the resulting tone is produced by using ten grains of sugar of
milk instead of the grape sugar.
The albumen mixture is then laid on to the paper by means of a flat
camel's-hair brush, about three inches broad, the mixture being first
poured into a cheese plate, or other flat vessel, and all froth and bubbles
carefully removed from the surface. Four longitudinal strokes with such a
brush, if properly done, will cover the whole half-sheet of paper with an
even thin film; but in case there are any lines formed, the brush may be
passed very lightly over it again in a direction at right angles to the
preceding. The papers should then be allowed to remain on a perfectly level
surface until nearly dry, when they may be suspended for a few minutes
before the fire, to complete the operation. In this condition the glass is
but moderate, and as is generally used; but if, after the first drying
before the fire, the papers are again subjected to precisely the same
process, the negative paper will shine like polished glass. That is coated
again with the albumenizing mixture, and dried as before.
One egg, with the ounce of water, &c., is enough to cover five half-sheets
with two layers, or five whole sheets with one.
I rarely iron my papers, as I do not find any advantage therein, because
the moment the silver solution is applied the albumen becomes coagulated,
and I cannot discover the slightest difference in the final result, except
that when the papers are ironed I sometimes find flaws and spots occur from
some carelessness in the ironing process.
If the albumenized paper is intended to be kept for any _long_ time before
use, the ironing may be useful as a protection against moisture, provided
the _iron be sufficiently hot_; but the temperature ought to be
considerable.
To render the paper sensitive, I use a hundred-grain solution of nitrate of
silver, of which forty-five minims will exactly cover the sheet of
seventeen inches by eleven inches, if laid on with the glass rod. A weaker
solution will do, but with the above splendid tints may be produced. As to
the ammonio-nitrate of silver, I have totally abandoned its use, and, after
many careful experiments, I am satisfied that its extra sensitiveness is a
delusion, while the rapid tendency of paper prepared with it to spoil is
increased tenfold.
The fixing, of course, modifies considerably the tone of the proof, but
almost any desired shade {397} may be attained by following the plan of MR.
F. M. LYTE, published in "N. & Q.," provided the negative is sufficiently
intense to admit of a considerable degree of over-printing.
It is a fact which appears to be entirely overlooked by many operators,
that the _intensity_ of the negative is the chief agent in conducing to
black tones in the positive proof; and it is almost impossible to produce
them if the negative is poor and weak: and the same observation applies to
a negative that has been _over_-exposed.